Violin lessons Launceston & Sydney
Masterclasses & Online Lessons
MasterclassesLearn how to pass diplomas. Understand what the examiners expect in the exam room. Learn about…
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Explore the Enigma
| Australian violinist Evan Elsley, brings a highly specialised insight into the research of Diploma violin technique. For decades, he has co-examined AMEB Diplomas, with Conservatorium and University Professors. He has mentored many diploma examiners, worked on diploma examiner review panels, and has been consulted on the technical components of grade exams. As a classical violin examiner, he has adjudicated thousands of performance candidates. These candidates have represented the broad church of teaching methods, tertiary music institutions, competitions, and the full spectrum of student abilities. He has also taught university violin performance, and teaching degrees. Evan's students have successfully won millions of dollars in awards, and scholarships. His former students are well known in the areas of performing, teaching, examining, and lutherie. Evan Elsley
| Technical TalentTalent removes the difficulty from technique. Using original research, Evan Elsley delves into the essence of intuitive technical talent, and the practicalities of how to think as a violinist. Referencing contrasting pedagogical approaches, from talent-driven master down teaching, to beginner up methods focused on grading criteria, the challenges faced by candidates in the exam room are demystified. Intonation woes to co-ordination issues are addressed with detailed solutions, adopting an informal, point-form approach for accessibility. Virtuosic technique is the ability to have both co-ordination and intonation securely prepared, at the exact moment of the bow change. It is achieved by a series of extremely easy intuitive techniques that can be felt as physical sensations. |
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Explore the Following
1. Intonation and co-ordination
The ability to capture secure intonation and co-ordination is the biggest technical problem for candidates. Consider, every technique requires time. Thinking, bowing, moving a finger all take their own moment of time. Placing all technique into a timeline where something must be done to get a predictable result, provides a technical process that allows the finger to be already tuned and in contact with the string, at the exact moment of the bow change. This defines intonation and co-ordination at advanced levels. It also turns listening into an active technique that controls muscle memory.
2. Forces of nature and the bow
Many students fight against gravity and air pressure, using tension and muscle strength, particularly when string crossing. Beginner methods often reinforce this process. The forces of bow weight, gravity, muscle groups, and balance points generate speed that is not captured by practice alone. Compare Kreutzer Etude No 6, which is normally taught as whole bows starting with a down bow. Compare this to starting with an up bow. The intended technical result is the same, yet one captures greater finesse.
3. Momentum in fast passages
Unsettled technical control in fast passages is common at the Associate Diploma level. Rapid changes in directional momentum can be managed with ease by using techniques borrowed from sport and dance, such as preparation.
4. Logic and invention
At the Licentiate level, progress depends on inventive and logical thinking. Most students continue to rely on beginner methods used at lower grade levels. Thinking like a violinist requires logic and creative problem-solving. Consider the technical requirement to play spiccato in the middle of the bow, yet the player finishes the previous note at the heel of the bow. This is not logical, yet it is a common problem. For fast passages, it is better to finish the previous note where you can immediately start the spiccato bowing.
5. Physical Sensations
Physical movement can create two technical sensations: difficult and easy. Technical talent gravitates towards achieving a required result using the easiest physical means.
Adjudicator
2024
Head Strings Judge for the AIMA Sydney Opera House Youth Music Open Competition.
Strings adjudicator for the St George Eisteddfod.
Visiting examiner at multiple NSW Regional Conservatoriums